The opening shot of Triptii Dimri as Qala Manjushree, bathed in the eerie glow of a single lightbulb, sets the tone for Anvita Dutt’s “Qala” — a film that thrives on atmosphere and unravels with deliberate unease. This psychological drama, wrapped in the trappings of a music biopic, follows Qala, a talented singer whose career is on the ascent even as her mental state spirals downward.

Dutt, known for her work on “Bulbbul,” crafts a haunting tale that explores the toxic dynamics between Qala and her mother Urmila (Swastika Mukherjee), a celebrated musician in her own right. The film’s strength lies in its commitment to Qala’s internal turmoil, using sound design to visceral effect. The voices of doubt that plague Qala — manifested as whispers and echoes — are a striking choice, amplifying the sense of isolation and paranoia that drives the narrative.

Dimri delivers a performance that anchors the film, her expressive eyes and controlled intensity making Qala’s descent into madness palpable. Mukherjee is equally compelling as Urmila, embodying the cold, distant mother whose disdain for her daughter is as palpable as it is tragic. The supporting cast, including Babil Khan as Jagan Batwal and Amit Sial as Sumant Kumar, adds depth to Qala’s world, though their roles are often overshadowed by the central mother-daughter conflict.

Where “Qala” falters is in its pacing and structure. The film’s nonlinear storytelling, while initially intriguing, becomes convoluted as it jumps between timelines. Some scenes feel repetitive, and the build-up to Qala’s eventual breakdown lacks the subtlety that might have made her arc more impactful. Additionally, the film’s exploration of mental health, though well-intentioned, sometimes veers into cliché, particularly in its portrayal of Qala’s hallucinations.

The music, composed by Amit Trivedi and Sagar Desai, is undeniably one of the film’s highlights. The songs are hauntingly beautiful, with lyrics that resonate deeply with Qala’s emotional journey. However, the integration of these musical sequences into the narrative sometimes feels forced, as if they were added to fulfill the genre’s expectations rather than serving a deeper purpose.

“Qala” is a film that demands attention and rewards patience, but it ultimately falls short of its potential. The nonlinear storytelling, while ambitious, often feels disjointed, and the film’s exploration of mental health could have benefited from a more nuanced approach. Nevertheless, Dimri’s performance and the haunting soundtrack make “Qala” a compelling watch for those interested in psychological dramas with a musical twist.

The film’s themes of validation, penance, and the destructive nature of self-doubt are timely and resonant. Qala’s struggle to win her mother’s approval mirrors broader societal pressures faced by women striving for success in male-dominated fields. The toxic dynamics between Qala and Urmila serve as a powerful commentary on the complex interplay between ambition, love, and the desire for validation.

“Qala” is not without its flaws, but it stands out as a bold and ambitious film that pushes the boundaries of traditional storytelling. Dutt’s direction is sharp and visceral, with a keen eye for detail that brings Qala’s world to life. The film’s haunting visuals and deeply engaging soundtrack create an immersive experience that lingers long after the credits roll.

In terms of performances, Dimri’s portrayal of Qala is a standout. Her ability to convey the character’s inner turmoil through subtle facial expressions and body language is remarkable. Mukherjee’s performance as Urmila is equally noteworthy, capturing the essence of a woman whose love for her daughter is overshadowed by her own ambitions and insecurities.

The film’s exploration of mental health is both timely and necessary. Qala’s struggle with self-doubt and paranoia is portrayed with sensitivity and depth, highlighting the often-overlooked complexities of mental illness. The use of sound design to represent Qala’s internal voices is a particularly effective choice, immersing the audience in her psychological landscape.

However, the film’s nonlinear storytelling can be challenging for some viewers. While it adds an element of intrigue and complexity, it also risks alienating audiences who prefer a more straightforward narrative. The frequent jumps between timelines can be disorienting, making it difficult to fully invest in Qala’s journey.

The integration of musical sequences into the narrative is another area where the film could have benefited from a more nuanced approach. While the songs are undeniably beautiful and resonant, their placement within the story sometimes feels forced. A more organic integration of music into the narrative would have enhanced the overall viewing experience.

Despite its flaws, “Qala” is a film that will resonate with audiences who appreciate psychological depth and hauntingly beautiful music. Dutt’s direction is sharp and visceral, with a keen eye for detail that brings Qala’s world to life. The film’s haunting visuals and deeply engaging soundtrack create an immersive experience that lingers long after the credits roll.

“Qala” is a film that will appeal to fans of psychological dramas and music biopics alike. Its exploration of mental health, complex mother-daughter dynamics, and the pressures of success make it a timely and relevant watch. While its nonlinear storytelling and occasional clichés may deter some viewers, those who appreciate bold and ambitious filmmaking will find much to admire in Dutt’s haunting tale.

In conclusion, “Qala” is a film that demands attention and rewards patience. Its exploration of mental health, complex relationships, and the pressures of success make it a timely and relevant watch.